λ A Napoleon III rosewood and fruitwood marquetry meuble à hauteur d`appui, with ormolu mounts, the verde antico moulded edge marble top above an ebony veneered frieze drawer and a cupboard door inlaid in the Dutch manner with a still life of a vase of flowers with an outer band of scrolling foliage shells and flowers, enclosing two adjustable shelves, flanked by corner pilasters with satyr masks, scrolls and flowers terminating in cloven hoof feet, the sides with trellis panels and on brass castors, 128.5cm high, 87.5cm wide, 47.2cm deep.
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A Papua New Guinea ceremonial house post or beam probably Upper Sepik River, two pairs of ancestor faces opposed and joined at the chin, deeply carved with protruding eyes, some with cowry shells believed to represent the eyes of a crocodile, open relief carving topped with a diving sacred Hornbill, painted with polychrome earth pigments, painted face to reverse, 102in. (259cm.) long.
Two Upper Sepik phallocrypts Papua New Guinea, late 19th/early 20th century, penis guards made from irregular and decoratively carved dwarf coconut shells, woven plant fibre bases caulked with mud, the wider guard with three bands of nassa shells around most of the circumference, the other with two bands, both with an oval hole under the tip, glossy patina, longest 5¾in. (4.5cm.). (2)
A large Papua New Guinea ancestor mask Lower Sepik or Lower Ramu River, elongated oval form, typical slanted eyes with inset cowry shells, long ridged nose to flared and pierced nostrils, open carved elongated upper lip with ridged scales terminating in zoomorphic form at chin, spines to cheeks and forehead, plant fibre loop to top, carved mounting bar to reverse, 30½in. (77½cm.) long.
A tribal cassowary bone lime spatula Papua New Guinea, late 19th century / early 20th century, the top open carved as a stylised parrot head, typical of Abelam and Kwoma region, the outer segment pierced to support an elaborate headdress of platted twine, bordered with nassa shells and topped with a porcelain toothed mohawk, twine and bark cordage collar, 14¼in. (36cm.) long. *Dog teeth were so valuable to natives that during the colonial period, 1884-1914, Germans manufactured and imported glass and porcelain teeth for bartering, which would often get used for tribal ornaments.
A large elliptical nassa shell currency mat or waist band Papua New Guinea, used as part of bride price payments, rows of finely woven polished nassa shells, encompassed by four lines of the same on top of plant fibre base, suspension loop to top, 31 x 9in. (79 x 23cm.), together with a bag of same origin and material, 11 x 6½in. (28 x 16½ cm.). (2)
A Papua New Guinea tribal dog tooth headband early 20th century, Ramu River region, three rows of dogs teeth tightly woven with plant fibres, bordered by a single row of nassa shells, single pierced circular currency shell to top centre, woven attachment loops to either side, missing fibre for wearing, 12½in. (32cm.) long. * Dogs` teeth were part of a family`s wealth and worn as a prestige item.
A Yoruba House of the Head shrine Ile Ori Nigeria, cylindrical crown shape comprising four vertical triangular panels and four rectangular panels covered with rows of cowrie shells, five red covered bobbles adorn the top with the central one attached to a rolled piece of white leather that descends within the body of the shrine, leather edging and stitching, small triangular attachments to upper cowry shell panels, 10in. (25½cm.) tall. *Designed to contain a person`s inner spiritual identity and worshipped to ensure a long and full life.
A nassa shell and dog tooth fringe necklace Papua New Guinea, possibly Asmat tribe, woven tightly with bush string, thirty-nine teeth facing anticlockwise with single line of nassa shells at their roots, a German glass replacement tooth at left terminal, 14½in. (37cm.) long, together with an armband of same origin, with a column of four rising dog teeth flanked by nassa shells, 9½in. (24cm.) long. (2)
An early 19thC giltwood firescreen, the heavily carved shell and scroll frame centred by further stylized shells with a period needlework centre decorated with flowers and centred by a stag, on acanthus capped scrolled supports joined by a carved stretcher in the Louis XV manner, 54cm x 37cm x 103cm.
BRITAINS: A quantity of Britains Royal Engineers / WWI related lead soldiers including Rangefinder, Spotting Chair And Observer (with boxes), artillery guns (with quantity of shells), machine gunners, troops and other soldiers etc. Assorted. NOTE: This lot is from an extensive private collection collected over many years. Each figure is generally presented in good condition as each figure was stored very carefully when not on display.
A French overdoor in Louis XV style, late 19th century, the white painted and gilt frame of scrolling serpentine outline and moulded with flower sprays, shells and rocaille, the canvas painted with a Watteauesque romantic woodland encounter, 53cm high, 122cm wide. Condition Report: No condition report
Four Britains Military Guns: No.1292 Field Gun (G/VG with leaflet in G/F picture box, torn inner end flap); No.1263 Royal Artillery Gun (G with leaflet and shells in envelope, in P box with end flap unattached and inner end flap missing); No.2026 25Pdr. Gun Howitzer on rubber tyres (G/VG in G box with shells); No.1715 2Pdr. A.A. Gun (F in P repaired box).
A Uniform to a Major of the Royal Corps of Transport, comprising a No.2 Service Dress tunic, shirt, tie, lanyard, two peaked caps, a beret and three pairs of trousers; a Mess Dress jacket, waistcoat, trousers, two cummerbands and a peaked cap; a Tropical white mess dress jacket; a combat smock, a pair of overalls, a set of waterproofs, a pair of barrack trousers, a Sam Browne with sword frog, a pair of puttees, a pair of gaitors, a pair of spats, two pairs of black leather boots, two stable belts and a quantity of brass and stay-brite buttons, cap badges, cloth insignia, dummy shells etc
A GEORGE II SALVER the shaped hexagonal scroll border with shells at intervals, on three feet, engraved with armorials, 24.5cm diam, maker WI, London 1752, 16ozs 10dwts ++Typical light wear but no damage or repair, the marks good, on the reverse a contemporary or nearly so engraved triad, B/IA
A GEORGE IV GADROONED OBLONG SAUCE TUREEN AND COVER applied with leaves and shells, 13.5cm h, by Rebecca Emes and Edward Barnard, London 1824, 25ozs ++Evidence of light erasure of an engraved crest or similar but not noticeably thin, marks rubbed on tureen but legible. The tureen engraved at later date with initials WBC under the foot
CONCHOLOGY. A COLLECTION OF VICTORIAN SEASHELLS the one hundred specimens in numbered card trays mostly retaining handwritten labels, the faded purple paper covered wooden box 29cm w and approximately 20 larger seashells, including several cameo carved examples ++The boxed shells a very original collection, long undisturbed, virtually all present and complete, the shells undamaged, a little dusty long having been undisturbed. The larger loose shells in generally very good and clean condition. A very attractive lot requiring a little tidying
A DERBY FIGURE OF NEPTUNE WITH A DOLPHIN the god in billowing puce flowered pale yellow lined drapery standing on a pierced mound encrusted with shells, 23.5cm h, c1765 ++Holding an old gilt painted zinc trident. Old restoration to upper left arm, typical but generally slight damage to some of the encrustation. Free from recent restoration or substantial damage
A Continental silver bombe tea caddy and cover, obscured stamped marks A Continental silver bombe tea caddy and cover, obscured stamped marks, import marked for Birmingham 1911, sponsor`s mark of W. J. Myatt & Co., cast with masks, shells and fruit framed by C-scrolls, 16.5cm (6 1/2in) high, 455g (14.65 oz) View on bloomsburyauctions.com
Five Carved Pearl Shells (Riji Jakoli) Western Australia (early - mid twentieth century) human hair string and natural earth pigments on carved pearl shell 19 cm; 20 cm; 19 cm; 20.5 cm; 15.5 cm (5) PROVENANCE Private Collection, Alice Springs (1975-2000) Important Aboriginal Art, Sotheby`s Australia, Melbourne, 28 June 1999, lot 216, illustrated (partial lot) ?Private Collection, New South Wales These were collected in Alice Springs over a 30 year period, primarily through direct contact with Western Desert Aboriginies. These carved pearl shells often made their way to Central Australia by means of trade. For related examples see Kim Akerman with John Stanton, Kimberley pearl shell in Aboriginal Australia, Northern Territory of Museum of Arts and Science, Darwin, 1994
Six Carved Pearl Shells (Riji Jakoli) Western Australia (early - mid twentieth century) natural earth pigments on carved pearl shell 20.5 cm; 19 cm; 17.5 cm; 18.5 cm; 19.5 cm; 14.5 cm (6) PROVENANCE Private Collection, Alice Springs (1975-2000) Important Aboriginal Art, Sotheby`s Australia, Melbourne, 28 June 1999, lot 216, illustrated (partial lot) ?Private Collection, New South Wales These were collected in Alice Springs over a 30 year period, primarily through direct contact with Western Desert Aboriginies. These carved pearl shells often made their way to Central Australia by means of trade. For related examples see Kim Akerman with John Stanton, Kimberley pearl shell in Aboriginal Australia, Northern Territory of Museum of Arts and Science, Darwin, 1994
Five Carved Pearl Shells (Riji Jakoli) Western Australia (circa 1950s) carved pearl shell and natural earth pigments 18 cm; 11.5 cm; 14.5 cm; 10.5 cm; 17 cm (5) PROVENANCE Private Collection, Alice Springs (1975-2000) Important Aboriginal Art, Sotheby`s Australia, Melbourne, 28 June 1999, lot 216, illustrated (partial lot) ?Private Collection, New South Wales These were collected in Alice Springs over a 30 year period, primarily through direct contact with Western Desert Aboriginies. These carved pearl shells often made their way to Central Australia by means of trade. For related examples see Kim Akerman with John Stanton, Kimberley pearl shell in Aboriginal Australia, Northern Territory of Museum of Arts and Science, Darwin, 1994
A Victorian silver sugar vase and cover, London 1861 by Joseph Angell, of spherical twin handled form, the bowl and cover pierced with graduated rows of shells and scrollwork, the cover with flower knop handle, on trumpet shaped base cast with foliate design, with later silver liner with gilt bowl, London 1869 by John Hunt & Robert Roskell, 23cm h, approx 740g.
Three pieces of furniture to include a 20th Century mahogany work box in the Queen Anne style, the cabriole legs with carved shells to shoulders on pad feet and a mahogany crossbanded firescreen with woolwork panel of delphiniums in a vase, and an Edwardian blond oak cutlery box, with four baize lined drawers. work box approx. 54cm high, 72cm wide, screen 75cm high.
A 19th Century French ormolu mantel timepiece with fusee movement, the engine turned dial with black Roman numerals, the waisted case cast with shell and scroll surmount above foliate scrolls, further shells and a lattice panel, on foliate feet, height approx 24.5cm, together with pendulum, key and giltwood stand.
A pair of Continental bisque porcelain piano babies, early 20th Century, each modelled wearing hats and nightdresses, together with a pair of Continental porcelain spill vases in the form of conch shells surmounted by putti, a porcelain basket, two doll cosy handles, and a pair of doll cosy legs (faults).
HENRY E.O. MURRAY-DIXON (BRITISH, 1885-1917) `Wild Life on the Western Front - Partridge in No Man`s Land` Grey gouache and bodycolour Titled verso (a copy attached to reverse of frame) 30.5cm x 47.5cm Note (1): Murray-Dixon noted, below the picture`s title that `on many parts of the British front covies of partridges are often seen, right up to the front line trenches - + even in no man`s land it is a strange + cheering thing to hear their well known call at dusk mingling with the thundering of heavy guns + exploding shells, by which they now seem to be little disturbed`. Note (2): This picture was published in the Illustrated Sporting and Dramatic News in early 1917. An appreciation of the late Lieutenant H.E.O. Murray-Dixon was published in The Field, 23 March 1918, in which Archibald Thorburn is quoted as saying that Murray-Dixon`s work `showed careful study... from life`, while J.G. Millais, who commissioned him to paint certain illustrations for his work on British Diving Ducks, commented that `his excellent draughtsmanship, delicate handling of details, and close observation proved him to be one who in time would have taken a high place among artists of bird life`. Note (3): Second Lieutenant Henry Edward Otto Murray-Dixon, 1st/4th Bn Seaforth Highlanders, the son of James Murray and Etheldreda Murray-Dixon of Swithland Rectory, Loughborough, died at Vimy Ridge on 10th April 1917, at the age of 31. He is buried with honour at the Aubigny Communal Cemetery Extension.
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24981 item(s)/page